Sigma introduces 70mm F2.8, first Art series macro

Gearing up for CP+ 2018, Sigma has announced two all-new lenses including the 70mm F2.8 DG Macro. It's the first macro lens in the Art-series line, offering true 1:1 reproduction and a dust- and splash-proof design. Full-time manual focus is available even in autofocus shooting, and focus ring's angle of rotation is tuned to the needs of macro shooting. Sigma gives no pricing or availability information for the 70mm F2.8 Macro.

SIGMA 70mm F2.8 DG MACRO

Stunning resolution and clarity for a breathtaking visual experience—a razor-sharp macro lens joins the Art line

The long-awaited first macro lens in the Art line In recent years, macro lenses in the standard range have tended to employ inner focusing with the goal of maximizing autofocus speed. In contrast, the new SIGMA 70mm F2.8 DG MACRO | Art lens is designed to prioritize optical performance, fulfilling the demanding image quality requirements that define the Art line. In the standard to mid-telephoto range, it delivers stunning resolution and incredible clarity that greatly exceed expectations for a macro lens. The coreless DC motor further enhances image quality, while an optimized algorithm helps offer extremely smooth autofocus performance for a weightier, high-performance lens. Photography enthusiasts will recall a certain legendary, razor-sharp macro lens—the SIGMA MACRO 70mm F2.8 EX DG—and be glad to learn it is available in a new form, updated with outstanding Art line quality.

Key features1. Design prioritizing optical performance In order to realize top-level performance at every shooting distance, the lens features an extending, floating, two-group focus mechanism. This configuration minimizes aberration to produce optimal results at any focus distance. To minimize axial chromatic aberration, the optical system incorporates two FLD glass elements, two SLD glass elements, and one element with a high rate of anomalous partial dispersion and a high index of refraction. In addition, two aspherical lens elements help increase resolution at close shooting distances. This optical system makes possible a razor-sharp in-focus area contrasted with a bokeh area free of color streaking.

2. Focus-by-wire system for comfortable and precise focusing The focus-by-wire system eliminates the direct mechanical connection between the focus ring and the focus drive system. Controlled by SIGMA’s latest algorithm, a newly developed coreless DC motor adjusts focus with optimal speed and low noise. Full-time manual focus is available even during autofocus, allowing the photographer to make minute focus adjustments simply by turning the focus ring. In addition, the focus ring’s large angle of rotation helps the photographer achieve the extremely precise focusing required for effective macro photography.

3. Compatible with full-frame Sony E-mount cameras The version of this lens compatible with Sony E-mount mirrorless cameras contains the same optical system as for SLRs. SIGMA MOUNT CONVERTER MC-11 is not required, as the lens performs the same functions as the converter, including in-camera image stabilization and in-camera lens aberration correction. In addition, the lens is compatible with Sony’s Continuous AF, which is not addressed by MOUNT CONVERTER MC-11. SIGMA plans to offer over time Sony E-mount versions of every full-frame prime lens currently available in the Art line, from 14mm to 135mm.

Note: This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

4. Compatible with Canon Lens Aberration Correction The Canon mount lens is compatible with the Canon Lens Aberration Correction function.* Matching the optical characteristics of the lens, this function performs in-camera corrections of peripheral illumination, chromatic aberrations, distortion, and more, further enhancing image quality. *Function not available on all Canon cameras. Further, available corrections may vary by Canon camera model.

6. Compatible with SIGMA TELE CONVERTERS The lens is compatible with SIGMA TELE CONVERTERS (sold separately) designed for the company’s new lens lines. SIGMA TELE CONVERTER TC-1401 allows the lens to be used as a 98mm F4 mid-telephoto macro with autofocus functionality,* while SIGMA TELE CONVERTER TC-2001 allows the lens to be used as a 140mm F5.6 mid-telephoto macro with manual focus. *Autofocus available at 0.5m to infinity. *Not available for Sony E-mount lens

Other features

Mount with dust- and splash-proof design* *SIGMA mount lens does not include sealing, since sealing is present on compatible SIGMA cameras.

Rounded diaphragm

Fast AF with full-time manual override* * The operation of full-time MF may vary based on mount type.

Comments

It's disconcerting that this lens doesn't have internal focusing. The Sigma extends considerably in length as you focus closer, unlike Canon, Nikon and Tamron macros.

One problem with this type of design is that the autofocus motors have a lot more work to do, so they tend to focus slower and wear out faster.

Another potential issue for some users is that as the lens extends forward, the front element is much closer to the subject than with an internal focus lens, which can pose problems if you are photographing nervous insects, and can obstruct the light path from flash units.

Most internal focus macros (Nikon 105mm, Canon 100mm, Tamron 90mm, Sigma 105mm etc) are extremely sharp - usually among the very sharpest lenses made by each manufacturer. The new Sigma 70mm may possibly be even sharper, but it's unlikely that it would be noticeable in real life situations (as opposed to test charts).

My first impression was it looks remarkably similar to the M.Zuiko 60mm f2.8 macro. The similarities go on. They both claim 13 elements in 10 groups, circular diaphragm, splashproof and 1:1 magnification but that's where it ends. Of course the angles of view will be different, 34.3° for the Sigma and 20° for the Zuiko and weights 515g against 185g. I hope you full size sensor shooter enjoy this lens as much as I enjoy the Zuiko.

It is also designed to cover a sensor with almost 4x the area . I love macro and the difference between the size and weight when using the Oly 60mm on my gx8 compared to my 90mm macro on the A7rII is rather obvious lol

I hope that one of the m43 companies introduces a native longer focal length macro

Yes, my reference to the angles of view was to recognise the differing sensor size. I would welcome a longer focal length macro for the very small objects I like to snap in the wild. Getting right up close one has the problem of getting light on the object while not getting light on the lens. Previously one would use revering rings but the focus stacking feature of the 60mm macro which I like, would be lost.

samtheman - the LED ringlight built into the Canon M series macro has a very low output, so you'd find yourself having to shoot at full aperture and/or use very high ISO settings.

Most macro subjects tend to be finely detailed, so the last thing you want is to turn that detail mushy by shooting at high ISO, or to have near-zero depth of field when using full aperture.

I'd regard the LED ringlight as an "emergency only" form of lighting. A proper ring flash, or a diffused flash in the hotshoe or on a bracket is a much better option, allowing the use of small apertures and greater depth of field due to the higher light output.

The current lens is already significantly bigger and heavier than its predecessor, and BTW has a much smaller focusing ring travel which was an inexplicable move for a macro lens. I can't imagine an Art version would be even bigger - my worry is that they go down the extending, focus-by-wire route.

This is, I believe, the lens I was looking for. I have the Sony Zeiss 55mm f/1.8, and the Sony Zeiss 90mm F/2.8. The new 70mm f/2.8 lies between both and might be the ideal lens to capture multi-layer panoramas, for which the 55mm is often slightly short.

That's right. The thought is that the shade works for non macro purposes, but the barrel comes out inside the shade and you are mainly relying on the recess of the elects for shading in macro. In a way that's clever: the shade protects the barrel for getting snagged in the field as you focus closer.

I don’t understand what autofocus speed has to do with optical quality. Those are not dependent things. One is optical, and the other is mechanical. I know that there might be focus groups, but those are always mechanically linked, and if the mechanical quality is where it should be, aren’t affected by focus speed.

I think, although I am not an expert, that in order to design a fast autofocus, the designers use a different optical formula so that the focus group is as light as possible. And this formula may not provide the best optical quality...

To move elements quickly, they should be light. It's physics. Perhaps they chose not to optimize the focusing elements for low mass and travel distance and just changed the gearing (or sizing) of the motor to handle the additional mass or travel distance.

They might even need to use a different motor technology to make everything fit.

These lenses are quite complex. To assume one thing isn't related to another without understanding how all the parts fit together disrespects the engineering that goes into these lenses.

Why can't they just give the working distance for 1:1? It's a macro lens, they really think people don't need to know that before purchase? I'm not saying they're hiding anything or it'll be particularly terrible, it's just an annoyance.

It says the lens is 105.8mm and it focuses down to 258mm but the flange distance is ? and the lens extends ? when it's at minimum focus. I dunno. And I resent having to do the math. How far is the focal plane from the end of the lens when it's at 1:1? It's a simple question, one that's always asked with macro lenses. Why can't they just tell us?

This looks like a very good lens and I wish Sigma would offer their lenses in Fuji mount. And nice of them to finally offer a macro lens that's relatively small. (Their 180/2.8 Macro is simply too big to schlep into the field. Who shoots macro at f2.8 anyway?)A number of people below have made negative comment about the fact that the lens focuses by extension. I'm not sure if it's wholly by extension or whether there is also some IF focusing inside. In any case, I think it's good thing in a macro lens. It can slow AF, but AF tends to be problematic at high magnifications and most people switch to manual focus anyway. On the plus side, it allows far better working distances. The working distances of some of the IF macro lenses coming from the camera manufacturers are desperately short.

Few people shoot macro at f/2.8 but it's an enormous help to have a bright viewfinder and a shallow DoF when focusing.

Also BTW the internal-focusing Canon 100 USM macro has a better working distance than the old extending-barrel 100 macro. I don't have the numbers to hand but from memory it's about 20 mm better.

Also also - if you want a small macro lens in the field, the Canon 100 (non-L) is only 13 mm longer - and doesn't extend so the Sigma will be *much* longer at 1:1. The Sigma is a little lighter though.

Yes, it varies a bit with different lenses - I've never used Canon EF lenses. The specific design of macros makes a lot of difference to working distance, particularly if you're comparing one with the glass recessed a long way behind the filter rim and another with the the front element right at the front. In Fuji, both macro lenses have very short WDs. The WD of the new 80mm IF lens is shorter than that of the older (hybrid focusing) 60mm lens on a tube at the same 1:1 magnification. The WD I get from my old MF Minolta 100mm macro at 1:1 on its matched tube is double that of either. (It's a pure focus-by-extension lens.)

Peter, if a 180mm is needed for reach in taking a portrait, there are enough non-macro 180/2.8 lenses that will do the job and remain much smaller and lighter than Sigma's 1.6kg apo macro monster. OTOH, if a long macro lens is actually being used for macro, a 180/2.8 that weighs 1.6Kg+ is very limiting. Macro lenses often need to be hiked out into nature and they need to be maneuverable to follow bugs, lizards, etc. Interestingly enough, when Sigma first marketed a 180/2.8 apo macro, they also offered a very small 180/5.6 apo macro. They were a bit dim on an SLR but with good high ISOs and EVF gain they work beautifully on mirror-less cameras. They're now sought-after because they're so portable. I'd agree they're more for macro, and less suited to portraits though.... a niche lens.

Rod, I just received my new issue of Shutterbug. In it is a review of the new Canon 100mm f2.8 Macro. The reviewer notes that it can nicely do double-duty as a portrait lens. I've read posts over the years where shooters have said that they use their macros as portrait lenses too, such as the Sigma 105mm.

I have the Sigma 150mm EX Macro (non-OS) and it can be a bit unwieldy, as you noted about the 180mm. I also have a Sigma 50mm f2.8 EX Macro that is very sharp but you've got to get close. I used to have a 105mm EX Macro and that seems to be a good focal length for me to use for macros. I wish I didn't sell it some years ago.

The old discontinued 70mm Sigma macro was one of the sharpest lenses ever made, and if Sigma are putting it's "Art" label on the new lens, it sounds extremely promising.

On an APS camera the 70mm focal length works quite well, but it's a bit on the short side for FF. Most macro photographers find a 100mm or longer lens essential to maintain a reasonable distance from the subject, especially if it is something nervous like an insect or small reptile.

It's also disconcerting that the lens doesn't have IS. That isn't quite so important for people whose cameras have IBIS, but it will be a big turn-off for owners of Canon and early Sony cameras that lacked IBIS.

Sony owners will be rejoicing now that Sigma have added 9 new e-mount Art lenses, and many who were previously reluctant to switch to Sony cameras now also have the extra temptation of a relatively cheap a7iii body.

@jnd - that's not working distance, it's focusing distance, i.e. sensor to subject. For macro you often need to know the clearance between the front of the lens and the subject, so you have to subtract the mount registration distance and the length of the lens when fully extended.

Man, I wish Sigma would release a longer macro for crop mirrorless as well. That's a big gap in Micro 4/3 that neither Olympus nor Panasonic seem to be willing to fill. And Sony APS-C users are in even worse predicament, as the longest native macro available to them is the monstrous (albeit excellent) 90mm FE macro.

But you can easily adapt a 180mm macro, the adapter size wont make much of a difference. Wish Sigma would make a 180mm or 200mm F5.6 macro, instead of the monster 180mm 2.8.I have the 180mm 3.5 and wish it was a bit lighter and easier to carry because i never used it below F5.6.

blackcoffee - Sigma make a 150mm macro. I've got one and it's optically as good as my Canon 100mm IS macro. Mechanically it's very solid and fairly heavy but nowhere near as heavy as the monster 180mm.

My only issue with it is that the AF is a tiny bit slow to kick in, and makes a slightly irritating "tinkling" sound when in operation. It's not a fault, just a design characteristic, and you quickly get used to it.

The difference in working distance between the 150mm and 180mm macros is pretty insignificant - if you can get close enough with a 180mm, you can certainly get close enough with the 150mm, especially with 24 MP or higher cameras that can be cropped with no discernible loss of sharpness.

@blackcoffee17Yeah, the Sigma 180 is somewhat on my radar, since I have a Metabones SpeedBooster. It could also serve a second purpose as an extreme telephoto. 125mm f/2 is nothing to sneeze at on Micro 4/3. The bulk of such a kit, unfortunately, is a bit intimidating and gives me pause whenever I get this GAS itch.

Looks like the first non-HSM Art lens. With the extending construction just like the old lens (and its 50/105mm siblings), something's telling me that the AF isn't going to be particularly fast nor quiet. They better have that focus distance limiter on hand...

The Sigma 70 / 2.8 macro still remains one of my favorite lenses. It will be interesting to see how the newer 70 / 2.8A macro compares. To be honest, I was hoping to see OS in an update of this lens, but then again, I'm surprised to see that Sigma updated that lens at all -- the original, though amazing, wasn't that popular.

Perhaps their lack of OS is because they feel the future is with mirrorless and IBIS, which would make sense -- no need to add size, weight, cost, and possible decentering to the lenses.

I guess this is the Sony E-mount macro lens I was waiting for, if pricing would be in the range of $500. I always wanted to give a try to the Sony 50mm macro, but none of the local Sony show-rooms has/had it. I am pretty sure Sigma will have it in stores to give it a try before summer.

SEL50M28 is painfully slow to focus because it does it externally, which is exactly the same problem that this lens has. Really, it's 2018, external focusing is a price you should be paying for having at least 2:1 magnification, not in those standard macros. You can have the sun itself in your studio and this thing will cover your subject in darkness once it lipsticks itself out of the tube. SEL90M28G is really the king here as far as AF macros go.

That is disappointing. I do have the original version and do love it, but it is quite the dinosaur. No manual focus override. Very noisy af. I did not think Sigma would every upgrade it, so this really got my attention. Love my Sigma 24. I do not care at all that it lacks os. Still, the old version ain't chopped liver.

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